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Max L. Feldman on Muck Rack

Max L. Feldman

Vienna
As seen in: Hyperallergic, Truthout, Wallpaper* Magazine, The Spectator, Brennan Center, ARTnews, Frieze, Artforum, ArtReview, The New Criterion and

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Max L. Feldman’s Journalist Portfolio

Road at The Royal Court Theatre - KCW Today

Road at The Royal Court Theatre - KCW Today

When Jim Cartwright's , a biting acerbic portrait of an unnamed Lancastrian community decimated by unemployme…

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The Postal Museum and the Mail Rail - KCW Today

The Postal Museum and the Mail Rail - KCW Today

Whilst I am perfectly au fait with using the Great British Postal Service (at least when it comes to regretta…

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Chuck - KCW Today

Chuck - KCW Today

Chuck Berry's last album was 1979's innovatively titled Rock It; a martyr to dated production techniques: Hai…

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Lana Del Rey: Lust For Life - KCW Today

Lana Del Rey: Lust For Life - KCW Today

Whilst Morrissey might still glumly balance the papal tiara of mope on the demolished remnants of his quiff, …

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Thai Square

Thai Square

As a North London ‘intellectual’ (read: pretentious quasi-alcoholic) trips south of the river are only undert…

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Articles

Exiled abstraction

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By Max L. Feldman, Robert Erickson, Anatoly Grablevsky
| The New Criterion Verified
Lajos Tihanyi, View from the Tower, 1908. Oil on canvas, Hungarian National Gallery, Budapest. Exiled abstraction Purchase this and other timeless New Criterion essays in our hard-copy reprint series. From the emergence of the short-lived Hungarian Soviet Republic in 1919 to the 1956 Hungarian Revolution to the controversial current government, Hungary has, for more than a century, played an outsized role in the Western political imagination.
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Rights of Mann | The New Criterion

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By Max L. Feldman, James Bowman, Jim Tuck, William Smith
| The New Criterion Verified
“Buddenbrook-House” at Mengstraße 4, Lübeck, was largely destroyed in the March 1942 RAF raid, renovated in the late 1950s, and museumified three decades ago. What remains is a stylistic mix: ersatz Northern Renaissance below and mock-transitional Rococo up top, whitewashed and artfully backlit at night. Some authentic features were restored, but not the original room layout; ongoing remodeling will take several more years.
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Moral kitsch & standing ovations

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By Max L. Feldman, Robert Erickson, Hilton Kramer, Renee Winegarten
| The New Criterion Verified
At the Wiener Staatsoper this spring, George Balanchine’s Divertimento No. 15 and Merce Cunningham’s Summerspace supported Pathétique, the Staatsballett director Martin Schläpfer’s take on Tchaikovsky’s Symphony No. 6. But Balanchine, representing swish uptown modernism, and Cunningham, the shadowy chain-smoking ennui of the downtown avant-garde, seemed less like context than energy sources from which Schläpfer’s new creation borrows its effect. And there was an unexpected prelude.
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